WILLIAM HAYES (1708-1777)

The Passions. An Ode for Music (1750)
Text by William Collins

First Part

1 Ouverture (Larghetto - Allegro)
2 Aria (Andante)
3 Aria (Allegro)
4 Recitativo accompagnato “When music, heav’nly maid, was young”
5 Song (Fear) “First Fear his hand” (Andante)
6 Song (Anger) “Next Anger rushed” (Allegro)
7 Song (Despair) “With woeful measures” (Largo)
8 Recitativo “But thou, O Hope”
9 Song (Hope) “Still it whispered promised pleasure” (Andante moderato)
10 Recitativo “And longer had she sung”
11 Song (Revenge) “He threw his blood-stained sword”
12 Chorus “Revenge impatient rose”

Second Part

13 Symphony (Spiritoso - Allegro)
14 Recitativo “Thy numbers, Jealousy”
15 Song ( Jealousy) “Of differing themes” (Andante Largo - Allegro…)
16 Song (Melancholy) “With eyes upraised”
17 Recitativo “But Oh, how altered”
18 Song (Cheerfulness & Chorus) “When Cheerfulness” (Andante)
19 Recitativo “Last came Joy”
20 Song ( Joy & Chorus) “He with viney crown advancing” (Vivace)
21 Recitativo accompagnato “But ah! Madness away”
22 Song (Reason) “In vain each seeks” (Larghetto)
23 Chorus “Thy wide extended power” (Andante Largo - Tempo ordinario)

About this CD

During the course of the Age of Enlightenment a rather special, indeed unique, occasion took place (on July 6, 1750, to be exact) with the first performance – in Oxford as part of a University celebration there – of a composition by William Hayes to a well-known humanist text: The Passions, An Ode for Music (written in 1746 by William Collins).

In those days the detailed study of human passions and feelings was an omnipresent theme in the worlds of science and art. With such a backdrop, the poetry of Collins and the music of Hayes join together to create a captivating work which manifests a deep understanding of human nature, is packed tight with philosophical references and which enjoys a subtly sharp dry sense of humour, known beyond the Isles’ shores as British... The result is a ‘dramatic oratorio’ of the greatest musical quality, which combines the language of the late Baroque with elements of the style galante and which even allows one a glimpse of the arrival of Classicism. In a series of consistently original and surprising mini-scenes, ten ‘passions’ become involved in theatrical disputes (among them Fear, Revenge, Melancholy, Hope and Cheerfulness).

Anthony Rooley is responsible for the rediscovery of this significant work and here leads a performance with soloists and ensembles closely linked with the Schola Cantorum Basiliensis, in the first release of a new collection directed by Glossa and the Swiss establishment, the leading educational and research centre in the field of early music.